Parween Dilshad

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lgo divider SANGEET MARTAND USTAD DILSHAD KHAN
SANGEET SAMRAGINI BEGUM PARVEEN SULTANA
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Begum Parween Sulatana
 
Ustad Dilshad Khan
 
 

A CHILD PRODIGY
A Profile of the Musical Genius

It is said that geniuses are born once in a century. But without the required encouragement, they fade away into the oblivion. It is so true like what Thomas Grey had mentioned in his elegy, those precious pearls lie buried forever unnoticed. So, it is necessary that even born geniuses need the required encouragement for them to blossom and get any recognition. Any talented artiste needs an Ideal environment at home and a proper guide or Guru to set the foundation.

It is so true with Begum Parveen Sultana. Her father Ikramul Majid and her Grand father Mohammed Najeef Khan were ardent music lovers and well known musicians. Mohammed Najeef Khan was from Afghanistan and though a flourishing businessman was a talented Rabab player and would go into the jungles to practice. Her father Ikramul Majid was also a popular musician, a radio artiste who had his training under Gul Mohammed Khan of Karachi and later under Ustad Bade Gulam Ali Khan. Obviously Parveen was cradled to sleep as a baby with the music of her father and the melody of Rabab. The echo of Rabab did play an important role in Parveens voice training giving it that rare sweetness.

Little Parveen began her arduous training under her father at an early age of five. She had no time to play about as other children do at her age. She gave her first classical recital at the tender age of twelve years at the Sadarang Music Festival where she captured her audience with her extraordinary voice and rendering of the raagas with the perfection of a matured artiste. Later her father put her under the guidance of renowned maestro Acharya Chinmoy Lahiri. Living in Gauhati in Assam, she had to fly with her father to Calcutta to receive her rigorous wee} endtraining under her Guru. Long hours of practice continued at home. Coming from an orthodox muslim family, there was great resentment in allowing a girl to sing. But she received all the support from her father. Also living in a muslim colony, the people expressed their displeasure in hearing long hours of monotonous practice; by pelting stones at the windows and breaking the glass panes. Yet young Parveen did not loose heart and continued towards her goal. Surely such perseverence had to bring the success that waited around the corner for her. It was flight towards one success to another, enthralling fully packed audiences, wherever she gave a recital, in all parts of the Globe.

A greater event had to happen. She found the Guru who further laid down a much deeper foundation that gave a new dimension to her singing, giving it the required mastery of raagas and voice culture that could expand her range to three and a half octaves. Ustad Dilshad Khan, her Guru and her erstwhile husband is no stranger to the Music world. A gifted genius like Parveen had in Ustadji, an Ideal Guru and mentor who chistled out the cabashon diamond intricately and minutely giving it the lustre and glow that could astound one who saw it. Parveen herself has mentioned on . many occasions that she could never have got a better g'!ide and a Guru than her husband Ustad Dilshad Khan. if such a guidance is not given, like a rudderless boat, even a talented artiste, :an drift away from the true value of real Music.

Parveen herself was trained according to Patiala Gharana, but with Ustadji's guidance the real essence of other Gharanas flowed into her Music, that was not only melody but also diligent following of the grammar too. The most remarkable aspect of her Music is that she handles with utter ease a simple raaga as well as the most complicated ones. From slow moving Alaap to the swift racing of Taans and Bol Taans touching a difficult Swar patterns which with just a flicker can land one in Besur, Parveen sweeps with great confidence, highlighting the most beautiful essence of the t:aag. Whether she sings a Khayal, or Tumri or a Bhajan, Parveen keeps the form in its prestine purity without mingling, which is a difficult task. A Listener will be astounded to hear her Sapat Taans, Gamaks, Taan Palat, and Jamjama to mention few of her remarkable achievements.

It is not surprising that an outstanding artiste like Parveen sultana had awards showered on her like Monsoon showers. At her childhood she was called melody Queen. Her first LP record on Hindustani Music was for the Festival of India. Many cassettes have been released as solo and Jugal Bandi with Ustad Dilshad Khan. since her childhood/awards followed one after another. In 1970 she got the award of "Cleopatra of Music", in 1972 she was titled as "Poetess of Music" and the Prestigious Presidential award of "Padmashree". Incidentally she is the youngest performing artiste to get this award. Gandhrva Kalanidhi in 1980, Mia Tansen award in 1986, followed by Sangeet Samragni award in 1994 by the Assam Govt., are some of the awards bestowed on her. Several cassettes and LP,s and CD's by companies such as HMV, Polydor, Music India, Bharat Records, Auvidis, Magnasound, sonodisc, Amigo and others have been released to date. Recently HMV has released 4 cassettes/CD's entitled "Khayal se Bhajan Tak:" which is widely popular and acclaimed as one of the most valuable contributions to the world of Indian Classical Music. They are the first Indian couple to be honoured thus. Begum Parveen Sultana also has the credit & honour of having been invited to participate in many Music festivals such as - Summer Solstice Festival in New York in 1981, Avignon Festival in paris in 1984, festival of India in U.S.S.R in 1987, INDIA Festival in Denmark in 1990, and INDIAN MUSIC Festival in United Kingdom in 1991. Besides this he has also recorded songs for Deutche Radio, Radio France, New York television, Moscow television etc.

Both Begum Parveen Sultana and Ustad Dilshad Khan have been travelling widely around the world and wherever they have performed, they took the audience by storm and kept them in awe stricken trance with their magical voices, vast knowledge and their masterly handling of various known and rare raagas, Tumris and Bhajans. Begum Parveen Sultana and Ustad Dilshad Khan have given more than 700 concerts in India and over 400 concerts around the world including concerts in New York Town Hall, Logan Hall, Queen Elizabeth Auditorium, Tchaikovsky Auditorium & Kremlin Hall, Musee Goumet Auditorium (Paris), Laurenturn Auditorium (Los Angeles), Wilshire Elbe Theatre, (London) etc.

It is indeed very creditable that a rare and gifted artiste like Parveen Sultana could rise above all obstacles in her environment and continue with her long and arduous Sadhana and emerge today as the most distinguished artiste perhaps with no equal.
















 

A CHILD PRODIGY
A Profile of the Musical Genius

ustad dilshad khan

If one studies the origin and development of Indian Classical Music, one will find that from time to time, many musicians and musicologists had appeared and added richness to it. we have had great men like Saranga Dev, Venkatamunni, Purandara Dasa, Amir Khushru, Mia Tansen, Swami Haridas and many more. As the teachings were oral, many valued contributions have been lost in the passage of time.

From olden times, artistes were attached either to the temples or to the royal Courts and were performing artistes of repute. Their performances were strictly in the temples or in the courts. Among the artistes and saint musicians some were great musicologists too, and they added very useful contributions to give a proper foundation and structure to Classical Music, both Carnatic and Hindustani. Sufi saint Amir Khushru from Turkey who adorned the Royal Court of the Kilji Kings in the 13th Century introduced the sitar, Tabla, Sarod and the Khyal system of Classical Hindustani Music. Khayal meaning creation gave ample scope for artistes to create and develop their own individual styles, which brought about the origin of Gharanas. So with unlimited flow in the arena, many artistes began to forgo grammar. It was Bhatkande who set the field straight by publishing books on Hindustani Music, late last century. Mia Tansen, who was the most distinguished artiste in the court of Moghul Emperor Akbar contributed over 400 Dhruvapads, and also his creation of ragas. Ustad Allaudin Khan of Maihar was a rare genius who could play over 100 instruments, created a number of ragas and also incorporated quite a few Camatic ragas into the fold of Hindustani Music.

We have been having a number of well known artistes from various Gharanas who have won recognition not only in India but also in foreign countries. But, very few are performing artistes with the capacity to create new ragas. We have today with us a rare genius in Ustad Dilshad Khan, who is not only an internationally recognised artiste, but a great musicologist too. He has drunk deep into the old musical texts including the Sanskrit ones and has done years of research work in this field. He is an ardent believer that music cannot come on a silver plate. Years and years of this arduous toil has borne fruit. There is perhaps no equal artiste now to compare with the vast knowledge of Ustad Dilshad Khan. His incomparable voice with its tonality, virtuosity, unending creativity and voice modulations can achieve unbelievable dimensions to translate various moods and emotions that leaves the audience spellbound.

Ustad Dilshad Khan comes from a family of music lovers. But music must be flowing already in his blood as a child. At the tender age of five he was initiated into leaming tabla under no less a dignitary thim pandit Gyan Prakash Ghosh, a Padma Bhushan awardee. Since he had a mellifluous voice, his father wanted him to learn vocal as well. He came under the tutelage of professor N.C. Ghosh. Since his childhood he was guided by the Late Ustad Bade Gulam Ali Khan, whose gayaki and style he imbibed deeply into his system. Music is a dangerous career to take as a profession, since either an artiste made it or paled into insignificance. So, he took to Marine Engineering for a career and was a very successful officer. But the magnetic pull of music was far too strong for young Dilshad Khan. He started his arduous training under Ustad Niaz Ahmed Khan and Ustad Fayyaz Ahmed Khan, of the Kirana Gharana. He did long hours of practice even in the ship, shutting himself in a cabin. Very soon fame and name came pouring down his way and ultimately Dilshad Khan took

the road of Music and Music alone. He experimented with his voice as a true genius. He soon captured the technique and is now able to sweep through five octaves with utter ease. Having this wide scope, he handles the most complicated Thaans and Paltas that can amaze any musician or a music lover. Very few can follow this dangerous cascade of torrential out pour of swars. He has created many new raags and incorporated more than 100 raags of Carnatic Music into the Hindustani Music, besides composing numerous Khayals, Tum aris , Bhajans and ghazals. He has done extensive research work on voice culture, Musical shastras and grammer, old & extinct raags and standardisation of raagas etc., along with the famous musicologist Dr. Bimal Roy and N.D. Mukherji. Which other genius can achieve this unique distinction?

His greatest achievement is his own disciple and distinguished wife - Begum Parveen Sultana. Those who have heard her would unhesitatingly approve the magical rise she has had with this great Guru's tutelage. Today, their individual concerts and their Jugal Bandhis are very popular.

For Dilshad Khan , Music is not a commercial venture. It is a "Sadhana" that should lead to Eternal Bliss, what can be termed as Nadha Brahma or Music of The Gods. Music has become a part of his life and the path to Moksha - " The Salvation". His music can be aptly called as "Transcendental Music" because it transcends all human barriers of cast, creed, religion or Nations, Spreading the message of peace and love. This Musical philosophy of Universal Oneness has proof in the response of the audience who flock to hear him, be it in America or in Russia.

Ustad Dilshad Khan has won a number or awards. In 1980 the Govt. of Haryana bestowed upon him the title of "Sangeet Martand". In 1986 Swami Haridas award followed. He was a member of the jury for the 1994 Indian Grammy awards. Several cassettes and LP,s and CD's by companies such as HMV, Polydor, Music India, Bharat Records, Auvidis, Magnasound, sonodisc, Amigo and others have been released to date. Recently HMV has released 4 cassettes/CD's entitled "Khayal se Bhajan Tak" which is widely popular and acclaimed as one of the most valuable contributions to the world of Indian Classical Music. They are the first Indian couple to be honoured thus. Ustad Dilshad Khan also has the credit & honour of having been invited to participate in many Music festivals such as - Summer Solstice Festival in New York in 1981, Avignon Festival in paris in 1984, festival of India in U.S.S.R in 1987, INDIA Festival in Denmark in 1990, and INDIAN MUSIC Festival in United Kingdom in 1991. Besides this he has also recorded songs for Deutche Radio, Radio France, New York television, Moscow television etc.

Both Ustad Dilshad Khan and Begum Parveen Sultana have been travelling widely around the world and wherever they have performed, they took the audience by storm and kept them in awe stricken trance with their magical voices, vast knowledge and their masterly handling of various known and rare raagas, Tumris and Bhajans. Ustad Dilshad Khan and Begum Parveen Sultana have given more than 700 concerts in India and over 400 concerts around the world including concerts in New York Town Hall, Logan Hall, Queen Elizabeth Auditorium, Tchaikovsky Auditorium & Kremlin Hall, Musee Goumet Auditorium (Paris), Laurenturn Auditorium (Los Angeles), Wilshire Elbe Theatre, (London) etc. There is no comer of the Earth, where they are not known as the "Inimitable pair".


















 
 
 
     
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